UNIVERSITY  of  CALIFORNIA 

NT 
LOS  ANGELES 


^ 


I    A  J) 


WHAT  AND  HOW 


A  Systematized    Course   of  Hand   Work 


FOR  PRIMARY  GRADES 
FOR  RURAL  SCHOOLS 
AND    FOR    THE    HOME 

2.7  O-i-  I 


BY 
ANNA  W.  HENDERSON 

AND 
H.  O.  PALEN 


SPRINGFIELD,   MASS. 

MILTON   BRADLEY   COMPANY 

1908 


Copyright,  1906,  by 
H.  0.  PALEN 


15  41 


PREFACE 

This  book  is  intended  to  "bridge  the  gap"  for  the 
little  child  just  entering  school,  in  a  way  to  make  the 
change  from  the  freedom  of  the  home  to  the  restraint 
of  the  schoolroom  less  abrupt  and  irksome  than  it 
might  otherwise  be,  and  to  help  the  teacher  arouse 
and  hold  his  interest  through  things  while  he  is  learn- 
ing to  use  books. 

He  cannot  and  should  not  ''keep  still,"  so  let  us 
keep  him  interestedly  and  profitably  busy  during  this 
critical  transition  period. 

The  book  will  also  be  found  helpful  to  the  mother 
in  the  home,  whose  manifold  duties  often  leave  her 
little  time  to  provide  something  worth  while  for  little 
hands  to  do. 

To  the  little  children,  their  mothers  and  teachers 
this  book  is  affectionately  dedicated  by  the  authors 
with  the  earnest  hope  it  may  accomplish  that  where- 

unto  it  is  sent. 

H.  0.  P. 
A.  W.  H. 

San  Francisco,  California,  September  1,  1908. 


CONTENTS 


Preface  .... 

The  Problem  and  the  Plan  . 
Stick  Laying  .... 
Clay  Modeling 

Sewing 

Form  and  Color 

Free-hand  Cutting 

Weaving        .... 

Folding  and  Construction  Work 

The  Utilitarian  Side 

Holiday  Work 

Daily  Outlines  for  Handwork 


Page 

3 

7 

11 

27 

39 

51 

76 

99 

113 

143 

145 

155 


THE  PROBLEM  AND 
THE  PLAN 

27^2./ 
THE  PROBLEM 

Probably  no  more  persistent  or  puzzling  problem 
confronts  the  busy  teacher,  whether  she  have  one 
grade  or  eight,  than  to  provide  profitable  occupa- 
tional work  for  beginners,  if  they  are  included  in 
her  classes. 

This  work  should  be  more  than  busy-work,  more 
than  merely  hand  work.  It  should  appeal  to  the 
combined  energy  of  head  and  hand,  remembering 
that  when  hand  work  through  oft  repetition  ceases 
to  be  head  work,  it  no  longer  has  an  educative  value. 

Further,  it  must  of  a  necessity  be  work  which  can 
be  done  independently  without  the  direct  supervision 
of  the  teacher,  and  should  be  of  such  a  nature  as  to 
require  the  least  amount  of  time  on  the  part  of  the 
teacher  in  preparation  of  material. 

We  are  happily  past  the  day  in  which  it  is  neces- 
sary to  use  argument  in  favor  of  manual  training; 
it  now  only  remains  necessary  to  convince  the  busy 
teacher  of  several  grades  that  she  can  introduce  it 
into  her  already  crowded  school  program. 

We  receive  into  our  public  schools  children  six 
years  old,  fresh  from  home  freedom  and  activity. 


8  What    and    How 

We  place  in  their  fingers  pencils  with  which  to  draw 
apples  or  form  letters  before  they  have  the  finger 
control  to  guide  the  pencil  or  the  training  of  the  eye 
to  see  intelligently  that  which  is  set  before  them. 

We  have  each  probably  had  at  some  time  in  our 
school  experience  a  '^pudding-fisted"  boy,  six  years  of 
age,  perhaps,  but  not  cix  years  in  maturity ;  one  who 
handles  his  pencil  as  if  it  were  a  poker,  and,  save  for 
the  friendly  aid  of  pictures,  is  at  a  loss  as  to  whether 
his  book  is  right  side  up  or  upside  down.  It  is  a 
pedagogical  crime  to  force  upon  this  child  either 
pencil  or  book  at  this  time,  bringing  as  they  do,  a 
period  of  discouragement,  a  loss  of  self-confidence, 
a  giving  up  of  striving,  and,  finally,  a  sense  of  being 
out  of  the  race  altogether. 

Give  him  instead  a  nice  soft  piece  of  clay.  Now 
watch  the  transformation.  How  he  smiles  over  this 
pliable  mass !  How  careful  the  touch  and  pat !  How 
proud  of  the  finished  object!  Would  he  not  like  to 
express  the  thought :  ''Take  away  those  meaningless 
pot-hooks;  give  me  something  to  maker' 

After  a  few  weeks  when  his  fingers  are  not  quite 
so  "wobbly,"  and  the  pencil  is  not  such  a  long  unman- 
ageable stick,  the  pot-hooks  will  not  be  meaningless, 
and,  should  he  write  a  line  backwards,  he  knows  for 
himself  that  something  is  the  matter. 

In  schools  of  several  grades,  beginners  receive 
fifteen  or  twenty  minutes'  attention  in  class  after  the 
opening  exercises,  then  must  wait  while  five,  six,  or 


The    Problem    and    the    Plan  9 

possibly  seven  classes  recite  before  another  period  of 
fifteen  minutes  is  devoted  to  them.  What  are  they 
doing  all  this  time?  Concentrated  study  is  out  of 
the  question  at  this  age. 

This  is  the  period  which  transforms  many  happy- 
faced  children,  who  have  looked  forward  for  half 
their  short  lives  to  the  wonderful  time  when  they 
should  first  go  to  school,  into  sober  little  automatons, 
or  listless  little  pessimists  who  ''do  not  see  the  use 
of  it,"  or  defiant  little  law-breakers  who  play  truant 
in  the  face  of  retribution  sure  and  swift. 

Instead  of  ''filling  in"  this  period  with  haphazard 
"busy-work,"  which  is  ofttimes  a  mere  time  killer, 
the  futility  of  which  is  evident  to  the  child  himself, 
why  not  devote  this  time  to  a  systematized  course  of 
hand  training  in  which  there  is  development  and 
mental  growth?  This  is  the  opportunity  for  laying 
the  foundations  of  manual  training. 

As  to  the  all-important  question  of  what  to  do,  it 
is  the  purpose  of  the  following  pages  to  show,  not 
only  ''What  to  do,"  but  ''How  to  do  it"  with  economy 
of  both  time  and  labor  on  the  part  of  the  teacher. 

THE    PLAN 

It  is  not  the  purpose  of  this  book  to  outline  a  spe- 
cific course  from  which  no  departure  may  be  taken, 
but  rather  to  offer  suggestions  along  practical  lines, 
which  the  busy  teacher  may  adopt  and  adapt  as  the 
conditions  of  her  school  allow. 


10  What    and    How 

As  a  general  plan  it  is  suggested  that  five  occupa- 
tions be  used — one  for  each  day  of  the  week — from 
the  opening  of  the  fall  term  until  January.  At  first 
glance  this  may  seem  too  great  an  undertaking,  but 
after  due  consideration  it  will  commend  itself  even 
to  the  busiest. 

If  unorganized,  haphazard  '^busy-work"  is  done, 
many  times  five  kinds  of  work  are  done  if  not  over- 
done  in  the  same  length  of  time. 

By  having  a  general  scheme  of  work  to  cover  a 
certain  period,  the  work  is  planned  for  that  time,  and 
the  teacher  is  relieved  of  the  ever-present,  harassing 
question  of  ' Vhat  to  do"  for  seat  work.  It  must  also 
be  remembered  that  only  by  regular  work  at  regular 
intervals  can  satisfactory  results  in  any  line  of  work 
be  attained. 

It  is  not  intended,  nor  is  it  desirable,  to  always 
repeat  the  same  occupation  on  the  same  day  of  the 
week,  but  that  each  occupation  shall  be  given  once  a 
week. 

While,  as  has  already  been  said,  it  is  not  intended 
to  lay  down  arbitrary  work  along  these  lines,  yet, 
for  the  benefit  of  those  busy  teachers  whose  daily 
work  it  is  not  only  to  hear  recitations  of  many  classes, 
in  their  numerous  subjects,  but  also  to  plan  their 
work  for  the  morrow,  a  daily  program  is  added  on 
pages  156  to  159,  hoping  that  it  will  to  some  extent 
be  the  key  which  solves  the  seat-work  problem. 


STICK  LAYiNO- 


STICK  LAYING 

Stick  laying  of  simple  forms  is  the  occupation 
which  may  be  given  to  the  child  the  first  day  of  school. 
If  our  little  lad,  wide-eyed,  and  with  every  sense 
alert  for  the  keynote  of  his  first  year's  work,  finds 
upon  his  desk,  that  critical  first  hour  of  the  first  day 
of  school,  a  box  of  sticks,  he  can  go  to  work  at  once 
making  chairs,  tables,  and  other  familiar  objects, 
should  more  advanced  classes  engage  the  first  atten- 
tion of  the  teacher. 

In  copying  forms,  let  long  lines  be  represented  by 
long  sticks  whenever  possible.  The  use  of  one  inch 
sticks  only  is  a  weariness  to  the  flesh  and  a  strain  on 
the  nerves. 

After  the  interest  in  this  copying  of  simple  forms 
has  waned — and  it  is  not  desirable  that  it  should  last 
long — introduce  a  number  element.  Children  delight 
in  counting;  let  them  place  forms  which  require 
counting, — geometric  forms  or  series  of  forms. 

In  this  connection  a  number  lesson  is  shown  on 
page  22,  in  which  a  number  sequence  from  one  to 
nine  is  represented  by  simple  forms  made  of  sticks 
of  equal  length.  Other  ideas  will  suggest  themselves. 
For  instance,  say  to  the  class :  'To-day  you  may  make 


14  What    and   How 

things  that  take  just  four  sticks.  See  how  many  dif- 
ferent things  you  can  make  with  four  sticks  for  each 
one;"  or,  ''Let  the  sticks  count  for  us  to-day.  Put 
one  stick  in  the  first  row,  two  sticks  in  the  second, 
three  in  the  third  row,  and  let  them  count  this  way 
until  we  have  nine  rows." 

From  these  geometric  and  regular  forms  develop 
borders.  Lead  the  class  to  observe  borders  on  books, 
baskets,  towels,  etc.,  so  that  they  get  the  idea  of  the 
repeated  unit;  then  let  them  invent  borders.  This 
will  awaken  great  interest  and  a  wonderful  variety 
of  results  will  follow. 

Here  we  have  reached  inventive  work,  which,  when 
properly  directed  and  controlled,  is  one  of  the  highest 
forms  of  educative  work. 

In  this  and  all  other  forms  of  imaginative  or  crea- 
tive work,  the  child  must  have  the  ideas  before  he  can 
express  them.  To  this  end  graded  exercises  are 
given.  First,  the  idea  of  the  border  is  developed  by 
observation  and  by  copying  from  the  blackboard. 
Then  unfinished  borders  are  placed  on  the  blackboard 
to  be  copied  and  finished  by  the  class. 

Next,  simply  the  unit  may  be  given,  from  which 
a  border  is  to  be  developed.  Suggest  a  border  by 
saying:  "To-day  make  a  border  of  squares  for  me," 
or,  ''Make  a  border  of  the  letter  T.  You  may  stand 
it  upright  or  place  it  upside  down." 

The  first  two  borders  on  page  24  may  be  varied  by 
making  units  of  groups  of  two  or  three. 


Stick    Lay ing  15 

Have  borders  made  in  connection  with  stories. 
After  reading  the  story  of  ''The  Little  Pine  Tree," 
a  border  of  conventionalized  tree  forms  may  be  made. 

By  this  time  their  heads  are  full  of  borders,  they 
are  making  them  at  odd  times  on  paper  and  on  the 
blackboard,  and  when  finally  you  say,  ''To-day  I  want 
you  to  'make  up'  a  border  for  me,"  they  fall  to  work 
with  eagerness  and  zeal. 

The  results  will  be  faulty,  but,  by  emphasizing  the 
good  points  and  eliminating  poor  lines  and  construc- 
tion, good  well-balanced  work  will  surely  grow  out 
of  it.  In  criticising  this  work  the  criticism  should 
not  be  so  severe  as  to  crush  originality,  yet  out  of 
chaos  a  clear  notion  of  a  border  must  be  developed. 
Let  simplicity  be  the  keynote,  so  that  the  repeated 
unit  shows  plainly.  Keep  the  applicatio7i  of  the  bor- 
der before  the  class,  by  having  them  tell  for  what 
purposes  their  borders  might  be  used.  From  stick 
work  to  pencil  work  is  but  a  step.  It  will  be  found, 
however,  that  after  this  preliminary  work  with  the 
sticks  the  pencil  work  is  more  accurate,  more  definite, 
and  in  better  proportion. 

In  work  with  sticks  of  various  lengths,  designate 
each  stick  by  its  length.  For  instance,  say:  "We  will 
use  the  one-inch  and  the  two-inch  sticks  for  our  bor- 
der to-day,"  or,  "Use  your  five-inch  sticks  for  your 
long  lines  in  this  picture."  Thus,  incidentally,  a 
definite  notion  of  the  inch  as  a  measuring  unit  will 
be  formed. 


STICK   LAYING 
16 


STICK   LAYING 

17 


STICK   LAYING 

18 


STICK    LAYING 

1Q 


STICK   LAYING 


20 


STICK   LAYING 
33 


iniKEnivr 

^H  ?^^v  ^hH!  ^^^^^b  I^^B  ^/^^^BB  l^^^^B  '  m.  ^.  ^  -*  BB  '  ^  ^  '  ^^1 

^H^^^^^^^^^H  ■Bi  ^B^^bl^^^^H  ^Bb  '-BB  ^'^fl^^B^HB  ^^^^h  ^^^B  ^^B 
B^^^^B  Bi  '-i^ifl^^S  H  'BB  i.^^^W  ^H  ^H  H 
^L^HPjI  it-'k  ^9V^.jBi  rw^jHteMK  ^^H  ^^B  ^H  ^B 

^^^^^fl  iBBHkJ^iiaBBi  "B^^IUBBH  ^^■J^H.^^  ^B 

STICK   LAYING 
23 


STICK   LAYING— BORDERS 

24 


STICK   LAYING 

25 


Reflect  that  the  student  will  learn  more 
by  one  hour  of  manual  labor  than  he  will 
retain  by  a  whole  day^s  verbal  instruction. 

The  things  themselves  are  the  best  ex- 
planative. — Rousseau. 


CLAY  MODELING 

There  is  no  other  occupation  that  gives  quite  so 
much  pleasure  as  clay  modeling,  and  there  is  no  better 
finger  training.  Not  only  does  this  work  strengthen 
and  educate  the  hand,  but  it  necessitates  observation 
of  the  smallest  details, — thus  it  leads  to  seeing  intelli- 
gently. 

Clay  modeling  is  excellent  for  individual  seat  work, 
as  well  as  for  class  work.  After  a  preliminary  lesson 
in  which  it  is  shown  that  it  is  with  the  fingers  rather 
than  with  the  palms  of  the  hands  the  work  must  be 
done,  the  clay,  and,  whenever  possible,  the  object, 
may  be  given  to  the  pupils  while  the  teacher  has 
other  classes.  This  is  not  merely  "busy-work" ;  it  is 
more  than  ''busy-work,"  for  it  is  a  form  of  expression 
through  material  things. 

The  results  will  be  crude.  It  is  not  a  lesson  in  fine 
art,  but  the  desired  result  will  be  attained  if  it  has 
opened  the  eyes  of  the  child  to  the  details  of  the  ob- 
ject before  him,  and  if  he  has  expressed  his  image  of 
it  by  means  of  his  hands.  Notwithstanding  a  some- 
what prevalent  opinion  to  the  contrary,  this  mate- 
rial is  neither  troublesome,  nor,  as  is  ofttimes  stated, 
"mussy,"  if  properly  cared  for.  If  a  good  quality  of 
clay  is  used,  it  is  clean,  and  requires  but  a  few  min- 
utes' care  after  each  time  it  is  used. 


30  What    and    How 

THE  CARE  OF  THE  CLAY 

To  prepare  it  for  use  for  the  first  time,  place  the 
dry  clay  or  clay  flour  in  a  cloth  sack  and  immerse  in 
water  until  the  flour  is  wet  thoroughly.  Put  the 
clay,  still  in  the  sack,  away  in  a  stone  crock  or  covered 
tin  pail  over  night.  If,  on  the  next  day,  it  is  too 
sticky  to  knead,  leave  it  exposed  to  the  air  for  a  few 
hours.  It  should  then  be  kneaded  into  large  lumps, 
placed  again  in  the  sack,  slightly  dampened,  left  over 
night  in  the  jar,  when  it  will  be  ready  for  use. 

After  the  clay  has  been  used,  the  models  should  be 
kneaded  into  lumps  again,  placed  in  a  freshly  damp- 
ened sack,  put  away  in  a  covered  jar,  and  it  is  ready 
for  use  the  next  day  or  the  next  week. 

If  at  any  time  the  clay  becomes  too  moist  or  sticky, 
exposure  to  the  air  will  remedy  this,  while  wetting 
the  sack  will  be  equally  effective  if  it  becomes  too  dry. 
In  the  right  condition,  clay  will  not  stick  to  the  fin- 
gers, which  indicates  that  it  is  too  soft ;  or  crack  while 
using,  which  shows  that  it  is  too  hard.  Never  wet 
the  clay;  moisten  it  by  wrapping  it  in  a  damp  cloth. 

It  is  more  sanitary  to  keep  each  individual's  clay 
separate.  To  do  this,  a  small  cup  with  an  impro- 
vised cover,  or  a  jelly  glass  with  a  top,  can  be  supplied 
by  each  child.  By  the  use  of  these  a  well-founded 
objection  to  the  use  of  clay  is  overcome.  Not  only  is 
this  plan  better  from  a  sanitary  point  of  view,  but  it 
will  be  found  that  the  clay  is  more  easily  cared  for  in 
this  way. 


Clay    Modeling  31 

After  the  class  has  finished  modeling,  pass  among 
them,  selecting  two  or  three  of  the  best  forms  to  be 
saved.  Give  new  clay  from  a  reserve  supply,  which 
should  be  kept  on  hand,  to  those  whose  work  was 
taken,  then  let  each  child  wrap  his  own  clay  in  a 
freshly  dampened  cloth,  and  put  it  away  in  his  own 
glass.  Have  the  glasses  collected  and  put  away  by 
rows  or  classes. 

We  are  getting  away  from  the  old  idea  that  all 
the  class  must  be  doing  the  same  thing  at  the  same 
time.  With  the  clay  in  individual  glasses,  in  an  easily 
accessible  place,  it  will  ofttimes  be  convenient  for  the 
teacher  to  say  to  some  unoccupied  child,  'If  you  have 
finished  your  work,  you  may  get  your  clay." 

A  square  of  oilcloth  may  be  used  to  protect  the 
desk,  and  has  the  advantage  of  being  noiseless  and 
easily  handled. 

Amount. — Five  pounds  of  clay  flour  are  enough  for 
a  class  of  twelve  for  a  year. 

A  FEW  GENERAL  DIRECTIONS 

The  accompanying  cuts  do  not  outline  a  specific 
course.  It  is  left  to  the  teacher  to  govern  her  work 
by  the  material  she  has  at  hand,  and  the  aptitude  of 
her  pupils. 

Give  this  work  a  local  interest  by  modeling  the 
fruits,  vegetables,  leaves,  and  nuts  which  grow  in 
the  vicinity;  by  reproducing  either  the  reading  les- 


32  What    and    Ho 


w 


son,  or  some  feature  connected  with  it ;  or  by  relating 
it  to  the  nature  study  or  drawing  whenever  possible. 

In  making  fruits  with  stems,  a  "pinch"  of  clay 
should  be  set  aside  for  the  stem.  By  rolling  this  small 
piece  between  the  thumb  and  finger,  a  slender  stem 
is  made.  A  hole  is  then  made  in  the  fruit  with  the 
clay  knife  or  pencil  into  which  the  stem  is  inserted, 
care  being  taken  to  work  the  model  at  the  base  of  the 
stem  in  order  to  make  it  secure. 

In  joining  two  surfaces,  as  the  handle  to  the  cup, 
prick  lightly  the  parts  to  be  j.oined  with  the  clay  knife 
or  point  of  pencil,  making  rough  surfaces,  which  join 
more  readily. 


c     ;  > 


v 


CLAY      KNIVES 


For  the  cup,  a  cylinder  is  made,  a  small  piece  is 
cut  out  with  the  clay  knife,  then  hollow  it  out  with 
the  thumbs,  keeping  the  walls  straight. 

BAS-RELIEF  OR  FLAT  MODELING 

Flat  modeling  is  very  simple  and  very  fascinating 
work.  Drawing  in  the  higher  grades  may  be  varied 
and  made  more  interesting  by  the  introduction  of 
this  work. 


Clay    Modeling  33 

A  tile  about  one  inch  thick  is  made  by  working  the 
clay  bit  by  bit  into  the  size  and  shape  required.  With 
this  as  a  foundation,  using  additional  clay,  model  flat 
objects  in  bas-relief.  When  modeling  animal  forms 
they  should  be  built  on  a  tile  for  the  foundation  or 
pedestal. 

Clay  is  an  excellent  medium  for  imaginative  work. 
Suggest  a  country  scene,  recall  a  mental  picture  or  a 
familiar  story,  and  let  the  class  work  it  out  with  clay 
on  a  tile. 

Clay  will  be  found  useful  and  effective  in  repre- 
senting Indian,  Esquimau,  early  Pilgrim,  and  other 
race  history  studies.  As  this  requires  more  than  one 
individual's  portion  of  clay,  it  is  well  to  allow  several 
to  work  together  on  such  a  plan. 


CLAY    MODELING 

34 


CLAY    MODELING 

35 


CLAY   MODELING 


CLAY    MODELING 

37 


EXPLANATORY  NOTE 

We  regret  that  we  were  unable  to  procure 
printing  inks  that  would  exactly  express  the  purer 
color  tones  of  the  "Bradley  Color  Scheme,"  on 
which  the  color  work  in  this  book  is  based.  We 
believe,  however,  that  the  close  approximations 
obtained  will  not  materially  lessen  the  value  of 
these  exercises  for  the  early  development  of  the 
color-sense  in  children,  which  they  are  intended  to 
accomplish. 

H.  0.  P. 


The  child  must  and  will  use  his  heart, 
hand  and  head.  The  longing  for  activity 
exists  in  his  nature,  and,  if  not  developed  in 
the  right  channel,  will  be  developed  in  the 
opposite  direction. — Mme.  Kraus-Boelte, 


SEWING 

Sewing  is  another  occupation  that  is  a  boon  to  the 
busy  teacher  of  several  grades. 

Give  a  child  a  sewing  card,  a  big-eyed  needle  and 
a  bit  of  colored  thread,  and  he  is  busily  and  profitably 
occupied  as  long  as  may  be  desirable. 

"But  of  what  use — this  putting  the  needle  in  one 
side  and  out  of  the  other?"  some  one  may  ask.  In 
this  occupation  deftness  and  delicacy  of  touch  and 
finger  control  are  acquired, — "hand  control  leads  to 
self-control."  The  close  attention  required  here 
develops  the  power  of  concentration  so  necessary  in 
other  lines  of  work. 

Sewing,  it  should  be  remembered,  is  a  means  of 
form  and  color  study  as  well  as  hand  training.  Forms 
of  life  which  can  be  represented  by  long  stitches  and 
not  lose  in  effect  thereby,  are  not  only  pleasing  to  the 
child,  but  are  a  means  of  teaching  and  observing  form 
and  color  in  nature  as  well.  This  affords  also  oppor- 
tunity for  imparting  a  familiar  knowledge  of  form 
by  sewing  squares,  triangles,  circles,  and  other  reg- 
ular forms. 

The  muscular  action  will  at  first  monopolize  the 
whole  attention  of  the  child.  In  his  interest  and  anx- 
iety to  put  the  needle  in  the  exact  hole  in  which  it 
belongs,  his  tongue  and  facial  muscles  will  work  in 


42  JVh at    and   How 

symiDathy,  but  his  satisfaction  in  the  completed  card 
must  not  be  marred  by  crude  forms  or  color  discords. 
Circular  lines  should  be  sewed  with  large  worsted, 
which  adajDts  itself  kindly  to  curves. 

In  matching  colors,  when  sewing  fruits  or  flowers, 
color  tones  should  be  softened,  or  jarring  and  dis- 
turbing combinations  will  result.  It  should  be  re- 
membered that  lights  and  shadows  are  constantly 
playing  on  and  mellowing  nature's  color  harmonies, 
which  must  be  taken  into  consideration  when  per- 
petuating the  same  in  embroidery  or  painting.  The 
point  in  view  should  not  be,  '^Does  this  match  exactly 
this  leaf  or  that  flower?"  but,  ''Do  these  colors  make 
a  harmonious  whole?" 

The  study  of  borders  which  was  introduced  in  the 
chapter  on  stick  laying  can  be  continued  and  devel- 
oped further  in  sewing. 

When  forms  of  life  are  sewed,  they  may  be  col- 
ored with  water-colors  or  crayons,  so  that  they  ap- 
pear in  mass — a  hard  outline  inclosing  a  white  space 
means  nothing  to  a  child. 

Blunt-pointed  tapestry  needles, 
No.  18,  with  zephyr  or  silk-finish 
crochet  cotton,  are  the  accesso- 
ries. At  first,  have  the  needles 
threaded  and  threads  knotted 
ready  for  use.  Let  these  two 
operations  be  the  object  of  a  few 
minutes'  lesson  at  some  future  time. 


Sewing  43 

The  outline  of  the  form  is  gone  over  twice.  The 
first  time  each  alternate  stitch  is  taken,  as  in  the 
accomj^anying  diagram.  The  second  time  the  * 'gates 
are  closed,"  making  a  continuous  outline. 

Sewing  should  always  be  a  lesson  in  neatness;  no 
careless  work  should  be  allowed;  the  wrong  side  of 
the  card  should  appear  as  neat  as  the  right  side. 

The  most  desirable  cards  are  those  with  simple 
forms  and  few  lines,  having  large  perforations  made 
by  removing  a  small  disk.  The  strain  on  the  eyes 
caused  by  the  pricked  cards  so  full  of  detail,  formerly 
used,  is  thus  removed.  In  selecting  cards  for  begin- 
ners those  having  an  unbroken  or  continuous  outline 
should  be  chosen. 

Amount  of  MoMrial. — This  varies  with  the  apti- 
tude of  the  class  and  the  cards  used.  Eight  cards  of 
an  average  amount  of  detail  are  usually  enough  for 
the  average  child  working  once  a  week  from  the  ojDen- 
ing  of  the  fall  term  till  Christmas. 

Have  patience  with  mistakes  at  first,  remember- 
ing how  difficult  it  is  to  handle  such  a  small  imple- 
ment as  a  needle  and  watch  the  pattern  and  keep 
your  thread  from  tangling, — that  is,  if  you  are  only 
five  or  six  years  old. 


A   COLOR   SEQUENCE   IN   SEWING -RED,  ORANGE,  YELLOW 

44 


A  COLOR  SEQUENCE  IN  SEWING  — GREEN,  BLUE,  VIOLET 

45 


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SEWING 

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SEWING 

48 


49 


Frequent  complaint  is  made  of  over- 
pressure in  schools,  but  it  is  not  work  which 
causes  over-fatigue  so  much  as  lack  of  in- 
terest and  lack  of  conspicuous  progress. 
The  best  way  to  diminish  the  strain  is  to 
increase  interest,  attractiveness,  and  the 
sense  of  achievement  and  growth. — Eliot. 


FORM  AND  COLOR 


The  materials  for  this  course  are  colored  paper, 
scissors,  tablets,  parquetry  forms,  paste,  and  a  plen- 
tiful supply  of  white  practice  paper  for  free-hand 
cutting.  Water-colors  or  crayons  may  be  used  for 
coloring  and  decorating  forms  which  have  been  cut 
from  white  paper. 

Parquetry  is  the  name  given  to  colored  papers 
obtainable  in  small  geometrical  forms  for  perpetuat- 
ing design  work  with  tablets.  By  the  use  of  these  in 
making  borders,  rosettes,  and  various  other  designs, 
the  eye  and  hand  are  trained,  symmetry  is  developed, 
and  by  working  with  the  forms  themselves  an  inti- 
mate knowledge  of  form  is  acquired. 

Color  and  form  are  so  closely  associated  that  the 
study  of  one  naturally  embraces  the  study  of  the 
other. 

The  study  of  color  is  both  important  and  practical. 
It  is  as  necessary  that  the  eye  should  be  trained  to 
discriminate  to  a  nicety  between  color-tones,  and  be 
able  to  make  pleasing  combinations  of  color,  as  that 
the  ear  should  discriminate  between  sounds  and  know 
harmony  from  discord  in  music. 


54  What    and    Ho 


w 


While  some  people  are  born  with  an  appreciative 
eye,  or  soul,  for  the  harmonies  of  nature's  colors  with 
their  iridescent  lights  and  shades,  there  are  many 
more  who  pass  them  by,  not  seeing  them,  and  stand 
helplessly  dumb  before  masterpieces  of  art.  It  is 
not  necessary  here  to  enter  into  platitudes  on  the 
influence  of  this  appreciation  of  the  beauty  about  us, 
for  in  a  more  or  less  definite  way  we  all  believe  it 
has  an  elevating  and  uplifting  influence.  So  let 
those  who  have  themselves  walked  in  darkness  be  not 
afraid  of  their  own  blindness,  but  with,  and  as  one  of, 
the  children  seek  the  light. 

To  demonstrate  the  practicality  of  the  study  of 
color,  not  only  its  importance  to  milliners,  dress- 
makers, florists,  furniture  dealers,  house  decorators, 
and  many  other  trades  needs  be  cited,  but  its  influence 
in  the  home  and  in  dress  is  so  great  that,  consciously 
or  unconsciously,  it  affects  every  individual's  happi- 
ness in  a  greater  or  less  degree. 

The  Six  Standard  Colors. — The  solar  spectrum  is 
divided  into  the  following  six  colors  called  standards, 
— red,  orange,  yellow,  green,  blue  and  violet. 

The  recognition  of  these  with  their  names  consti- 
tutes the  principal  part  of  the  color  work  for  the  first 
year.  The  recognition  of  these  means  a  correct 
mental  concept  of  each  standard,  formed  by  handling 
and  working  with  the  purest  colors  obtainable,  after 
which  the  tints  and  shades  and  hues  will  group  them- 


Form    and    Color  55 

selves  about  these  absorbed  images  of  the  standards 
in  martial  order. 

Color  may  be  presented  by  making  a  projection  of 
the  solar  spectrum  in  the  schoolroom  by  means  of  a 
glass  prism.  This  little  ''sun-fairy"  is  a  never-ending 
source  of  wonder  and  delight  to  the  little  ones.  Let 
them  pick  out  the  colors  they  know  and  learn  the 
names  of  those  with  which  they  are  unfamiliar. 
Make  a  chart  of  the  six  standards  for  the  schoolroom, 
and  let  each  child  make  one  for  himself. 

In  the  scale  of  any  one  color,  the  tones  lighter  than 
the  standard  are  called  tints,  those  darker  than  the 
standard  are  called  shades.  Children  should  early 
learn  to  use  these  two  terms,  tint  and  shade,  correctly. 
To  this  end  the  "families"  of  some  of  the  colors 
should  be  presented.  The  ''red  family,"  for  in- 
stance, consists  of  the  standard  red,  its  shade,  and  its 
tint.  Many  applications  of  these  combinations  can 
be  made  in  rosettes,  borders,  tile  patterns,  etc.  Call 
attention  to  the  color  scales  in  nature,  how  the  light 
makes  tints,  and  the  shadow  shades,  on  leaves,  fruits 
and  flowers. 

A  tint  and  a  shade  should  be  added  to  each  color 
on  the  color  chart.  A  collection  of  bits  of  cloth,  glass, 
buttons,  tablets,  colored  paper,  etc.,  may  be  made  for 
matching  and  comparing  with  the  chart.  Give  each 
child  the  six  standards  with  a  tint  and  a  shade  of  each 
in  parquetry  forms  and  let  him  arrange  a  chart  sim- 
ilar to  the  one  shown  on  page  67. 


56  What    and    How 

A  WORD  ON  COLOR  HARMONIES 

A  hue  is  a  spectrum  color,  it  may  be  red,  it  may 
be  orange,  or  it  may  be  applied  to  the  colors  which 
lie  between  these  two  in  the  spectrum — orange-red  or 
red-orange.  The  term  standard  is  used  to  designate 
the  pure  colors,  red,  orange,  yellow,  green,  blue,  vio- 
let; by  hues  we  include  not  only  the  standards,  but  all 
the  colors  formed  by  the  mixture  of  pure  colors.  The 
term  is  usually  applied  to  the  colors  found  between 
the  standards  in  the  color  spectrum  called  ''interme- 
diate hues."  In  the  composition  of  the  pure  hues 
there  is  no  white,  black,  or  gray,  so  that  though  a 
scale  may  be  formed  of  each  hue  with  its  tints  and 
shades,  and  thus  we  have  tints  and  shades  of  a  hue, 
yet  the  term  "hue"  cannot  be  applied  correctly  to  a 
tint  or  a  shade. 

A  scale  of  color  is  that  color  arranged  in  steps  or 
degrees  from  a  shade  to  the  standard  and  from  the 
standard  to  the  corresponding  tint.  Each  color-note 
in  a  scale  is  called  a  tone.  A  scale  may  be  made  up 
of  but  three  tones  or  it  may  be  made  up  of  an  indefi- 
nite number,  according  to  the  gradation  between  ad- 
jacent tones. 

Combinations  of  the  standard  colors  are  usually 
harsh  or  crude  if  the  pure  colors  are  used,  though  the 
tints  or  shades  of  one  may  be  successfully  combined 
with  those  of  another. 


Form    and    Color  57 

A  dominant  harmony  is  a. harmony  made  from  dif- 
ferent tones  of  one  scale.  Imagine  a  scale  of  the 
standard  yellow,  graded  from  a  pale  tint  at  the  top 
to  a  deep  shade  at  the  bottom;  a  picture  or  design 
made  up  of  various  yellows  from  this  scale  is  a  domi- 
nant harmony  in  yellow.  In  the  study  of  color  with 
children  it  is  a  wise  plan  to  keep  them  to  dominant 
harmonies  or  combinations  of  grays  with  spectrum 
colors,  else  their  lack  of  color  judgment  may  lead  to 
riotous  and  warring  combinations. 

Form  as  dealt  with  in  this  chapter  treats  only  of 
surface  forms.  It  is  left  to  the  teacher  to  develop 
the  relation  between  these  and  the  type  solids. 

Children  should  early  learn  to  recognize  and  name 
the  following  forms, — circle,  square,  semicircle,  tri- 
angle, and  rectangle.  This  may  be  done  by  tracing 
the  form  from  tablets,  and  cutting  it,  and  by  work 
with  parquetry  forms.  The  familiar  knowledge  and 
use  of  the  names  of  these  forms  may  be  taught  by 
dictation  exercises  with  tablets,  which  may  after- 
ward be  mounted  in  parquetry. 

For  example:  Pass  to  each  member  of  the  class 
one  square  and  four  semicircles  of  parquetry  forms, 
a  square  of  mounting  paper  and  paste. 

Dictate  as  follows :  Place  the  square  in  the  center 
of  the  paper  with  one  side  (rather  than  one  corner) 
toward  the  front.  Before  pasting,  inspect  the  posi- 
tion of  this  square.     If  intricate  patterns  are  to  be 


58  What    and    How 

mounted,  a  vertical  line  and  a  horizontal  line  through 
the  center  of  the  mounting  sheet  is  advisable. 

Place  a  semicircle  at  the  left  of  the  square,  as  near 
as  possible  without  overlapping. 

Place  a  semicircle  at  the  right  of  the  square. 

Place  a  semicircle  at  the  back  of  the  square. 

Place  a  semicircle  at  the  front  of  the  square. 

Do  not  hesitate  to  show  each  step  by  means  of 
larger  tablets  or  blackboard  diagram  until  the  pupils 
are  able  to  work  from  dictation  alone. 

In  the  foregoing  exercises  with  parquetry  forms  it 
is  assumed  that  one  or  more  previous  talks  had  been 
given  upon  these  two  forms,  still  the  word,  ''semi- 
circle," being  an  unfamiliar  one,  may  not  suggest 
the  half  circle  until  practical  work  with  the  form  has 
been  done. 

For  cutting  quarterfoils,  four-pointed  stars,  four- 
petaled  flowers,  fold  the  paper  in  halves,  then  double 
it  into  quarters,  then  once  again  diagonally  into 
eighths,  then  cut  half  of  the  one  fourth  of  the  design, 
for  instance,  half  of  one  point  of  the  star,  which  is 
an  oblique  line,  or  half  of  one  petal  of  the  flower. 
When  opened  out  the  unit  is  repeated  four  times 
about  the  center. 

An  infinite  number  of  original  designs  may  be 
made  by  folding  into  eighths,  then  cutting  free-hand 
designs  of  various  shapes. 

In  the  following  exercises  the  type  forms  presented 
are  to  be  traced  from  tablets,  then  cut  and  mounted. 


Form    and    Color  59 

This  is  for  form  study  and  must  not  be  confused  with 
free-hand  cutting.  It  will  be  noticed  that  the  six 
standard  colors  are  used  in  making  these  forms. 

The  designs  in  parquetry  should  first  be  made  with 
tablets.  In  iDlacing  designs  for  borders,  symmetry 
and  balance  are  developed  by  placing  the  middle  unit 
first,  then  working  from  it  to  each  side. 


FORM    AND   COLOR 

60 


FORM    AND   COLOR 

61 


FORM   AND   COLOR 

62 


DESIGNS   FOR   PARQUETRY    OR  TABLETS 


63 


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DESIGNS   FOR   PARQUETRY   OR  TABLETS 

64 


DESIGNS   FOR   PARQUETRY   OR   TABLETS 

65 


DESIGN    FOR    PARQUETRY    OR   TABLETS 
66 


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COLOR  CHART  SHOWING  SIX  STANDARDS  WITH  A  TINT  AND  A  SHADE  OF  EAC 

67 


DESIGN    FOR  TABLETS   OR   PARQUETRY 


DESIGN    FOR  TABLETS   OR   PARQUETRY 

69 


THE   RED    FAMILY 

70 


THE   ORANGE    FAMILY 

71 


ROSETTE    MADE    BY    FOLDING    PAPER    INTO    EIGHTHS 


THE   YELLOW    FAMILY 

72 


THE   GREEN    FAMILY 

73 


••^nHF^STSf^^"-. 


\  jafe 


THE   BLUE   FAMILY 

74 


This  "tile  pattern"  is  made  by  pasting  the  outer  rim  of  violet 
shade  and  the  inner  one  of  standard  violet  on  a  foundation  square 
of  the  violet  tint.  Both  designs  were  cut  from  the  paper  after 
being  folded  into  eighths. 


THE   VIOLET   FAMILY 


FREE-HAND  CUTTING 

As  early  as  the  child  is  able  to  handle  the  scissors 
it  is  his  delight  to  cut.  How  many  hours  are  spent 
before  the  school  age  in  cutting  aimless  strips  or 
''cutting  out"  pictures ! 

With  great  delight  the  children  greet  their  old 
friend  the  scissors  in  the  schoolroom ;  and  still  greater 
is  their  pleasure  to  discover  their  ability  to  cut  pic- 
tures of  their  own. 

In  free-hand  cutting  no  outline  is  made  with  the 
pencil.  A  drawing  may  be  placed  on  the  blackboard, 
or  some  simple  object  placed  before  the  class ;  scissors 
and  common  white  or  manila  paper  are  given  to  the 
children.  Show  them  how  by  cutting  before  them; 
then  let  them  cut  out  the  form  entirely  free-hand. 
The  results  will  be  crude  at  first,  but,  with  patience 
on  the  part  of  the  teacher  and  perseverance  on  the 
part  of  the  pupils,  in  a  short  time  they  will  show 
great  facility  in  the  use  of  the  scissors. 

It  is  best  to  make  the  drawings  on  the  blackboard 
solid  white.     Children  do  not  think  in  outlines. 

The  first  form,  the  circle,  is  attractive  to  the  chil- 
dren as  a  dollar,  the  small  circles  then  become  dimes 
and  quarters.  Those  with  ''corners"  are  rejected  as 
"bad  money."     It  is  surprising  to  see  their  avidity 


Free- Hand  Cutting  77 

for  accumulating  money  at  this  early  age  under  these 
circumstances. 

Under  the  study  of  form,  exercises  in  tracing 
around  the  circular  tablet  and  then  cutting  are  given. 
This  is  valuable  for  getting  the  rotary  motion  of  the 
scissors. 

From  the  circle  to  the  fan,  apple,  or  pear  is  but 
a  step,  and  the  roa^d  thereafter  is  optional  v^ith  the 
teacher. 

Usually  white  or  manila  paper  is  used  for  this 
vv^ork,  but  for  decorative  purposes  colored  paper  or 
colored  crayons  may  be  introduced. 

This  is  ideal  seat  w^ork  and  is  one  of  the  best  occu- 
pations for  the  lower  grades  while  other  recitations 
are  being  heard.  It  should  always  be  a  lesson  in 
neatness  and  order.  Scraps  should  be  picked  up 
and  the  wastebasket  passed  each  time.  A  square  of 
cloth  for  a  scissors-mat  protects  the  desk  and  also 
prevents  noise. 

Various  plans  will  suggest  themselves  for  keeping 
the  good  work.  The  cuttings  may  be  pasted  on 
mounting  cards  and  displayed  about  the  room.  The 
best  cuttings  may  be  selected  and  kept  in  envelopes 
by  the  children  and  pasted  in  individual  scrapbooks 
once  a  week. 

Imaginative  work  in  illustrating  reading  lessons, 
stories,  or  verses  is  important.  Mother  Goose  rhymes 
are  suitable  for  this  work. 


A  SUGGESTIVE  OUTLINE 
FOR  GUTTING 

First  Month. — Round  Things. 
Circle  Fan 

Pear  Balloon   (p.  98) 

Apple  Japanese  Lantern   (p.  154) 

Second  Month. — Straight  Line  Objects. 
Boat  Cup 

House  Hat 

Tools   (p.  81)  Coffee  Mill 

Third  Month. — Harvest. 

Leaves  Vegetables 

Fruit 

Thanksgiving  Pictures — 

Wigwam 
Canoe 
Mayflower 
Pilgrim 

Fourth  Month. — Christmas. 

Toys — Horns  '   Drums  Boat 

Tops  Dolls  Balls 

Guns  Dishes,  etc. 

Fireplace 

Tree 

Bells 

Santa  Claus 


A    Suggestive    Outline  for   Cutting      79 

Fifth  Month. — Simplified  Animal  Forms. 

Cat  Squirrel 

Rabbit  Elephant 

Pig 
Sixth  Month.— 

Sunbonnet  Baby 

Pose  work,  using  children  as  model 

Cut  from  memory- 
Things  seen  on  way  to  school 
Things  mother  uses  in  kitchen 
The  tools  a  carpenter  uses 
Seventh,  Eighth,  and  Ninth  Months. — 

Songs  and  flowers 

Continue  to  copy  to  some  extent,  but  the  most 
of  the  work  should  be  original 

Illustrate  songs,  reading  lessons,  and  stories : — 
Chicken  Little 
Ugly  Duckling,  etc. 

In  all  this  work  review  frequently,  but  do  not 
attempt  to  keep  to  one  model  until  it  is  perfected  to 
the  extent  of  weariness  or  m.onotony. 


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Jlirig^i^rffiti£rt'-  ! 


"STILL  SITS  THE  SGHOOLHOUSE  BY  THE  ROAD" 


FREE-HAND  CUTTING  MOUNTED,  WITH  CRAYON  TOUCHES 

89 


Simple  forms 
[with  colored  crayons. 


4^0yi, 


■^^^00^^ 


FREE-HAND  CUTTINGS  MOUNTED    WITH  CRAYON  TOUCHES 

90 


FREE-HAND  CUTTINGS  MOUNTED,  WITH  CRAYON  TOUCHES 

91 


FREE-HAND  CUTTING  MOUNTED,  WITH  CRAYON  TOUCHES 

93 


■ 

^^^1 

■ 

1 

1 1\  simple  boat  which  on  account  of  it5 
straiqht  lines  maybeqiven  early  in 
the  year 

2-  A.  more  difficult  one  for  more  advanced 
workers  Requires  sharp  scissors. 

3-^pplicdtion  of  boat  in  simple  picture 
usi  nq  colored  paper  and  crayons. 
In  permanent  form  this  would  not 
appear  on  this  paqe,  but  on  a  page  with 
several  similar  picture  suggestions 

1 

^ 

1 
1 

1 

93 


FREE-HAND  CUTTING  MOUNTED,  WITH  CRAYON  TOUCHES 

!)4 


•"^-\^-                        ,    '■- 

y     \ 

i 

;^-^ 

Mr  Duck  went  to  CciU  on 

Mr.  Turkey  " 
Showjnd  thdt  by 


Snd  ver.ses  msv 


FREE-HAND  CUTTING  MOUNTED,  WITH  CRAYON  TOUCHES 


95 


M  ^'; 


"THE  UGLY  DUCKLING" 

FREE-HAND  CUTTING  MOUNTED,  WITH  CRAYON  TOUCHES 

96 


X 

u 
o 

H 

z 

o 

< 
u 

H 


'LET  US  GO  AND  TELL  THE  KING"— THE  STORY  OF  CHICKEN  LITTLE 

97 


FREE-HAND   CUTTING   MOUNTED,  WITH   CRAYON   TOUCHES 

98 


//,  instead  of  chaining  a  child  to  his 
books,  I  occupy  him  in  a  workshop,  his 
hands  labor  to  the  profit  of  his  spirit,  he 
becomes  a  philosopher,  though  he  thinks  he 
is  only  a  workman.  Now,  of  all  the  occu- 
pations which  serve  to  furnish  subsistence 
to  man,  that  which  brings  him  back  to 
Nature  again  most  closely,  is  the  work  of 
his  hands. — Rousseau. 


WEAVING 

If,  as  is  ofttimes  stated,  the  development  of  the 
child  is  along  the  same  lines  as  that  of  the  race,  then, 
indeed,  is  weaving  a  natural  impulse,  being  one  of 
the  oldest  industries  as  well  as  one  of  the  first  occu- 
pations of  all  primitive  peoples. 

Weaving  trains  and  strengthens  the  hand.  By 
giving  work  to  both  hands  it  is  valuable  for  develop- 
ing hand  dexterity.  It  lays  a  foundation  in  design, 
thus  is  an  excellent  preparation  for  the  loom  weav- 
ing which  is  finding  its  way  into  higher  grade  work. 
In  addition  to  these,  there  is  a  number  element,  for 
in  every  pattern  the  child  must  count.  Take,  for 
instance,  the  pattern  over  three  and  under  three ;  at 
first  he  counts  laboriously,  ''one,  two,  three,"  each 
time,  until  by  oft-repetition  he  recognizes  three  as  a 
whole  and  has  no  need  of  counting. 

Weaving  furnishes  an  occupation  for  desk  or  class 
work.  The  material  consists  of  mats  cut  into  strips 
with  a  margin  all  round,  and  a  set  of  strips  joined  at 
each  end,  but  without  a  margin.  Strips  detached 
from  the  latter  are  woven  into  the  former  by  means 
of  a  long  weaving  needle.  This  occupation  will  need 
an  introductory  lesson,  in  which  the  work  is  dictated, 
strip  by  strip.  For  this  first  practice  work  linen  or 
other   mats  with   wide   fringes   are   recommended. 


102  What    and    How 

Thin  wooden  slats  may  be  used  as  weavers  for  this 
first  lesson.  After  the  idea  has  been  mastered  with 
these  materials,  the  jDaper  mat  and  long  steel  needle 
may  be  used. 

Color  Harmonies. — While  the  child's  love  of  bright 
colors  should  be  gratified,  at  the  same  time  an  appre- 
ciation of  pleasing  and  harmonious  combinations 
should  be  fostered.  This  is  an  opportunity  for  teach- 
ing color,  to  which  end  the  standards  with  their  tints 
or  shades,  or  with  neutrals,  should  at  first  be  pre- 
sented. In  later  work  there  is  no  reason  why  any 
pleasing  combination  should  not  be  used.  It  were 
wise  to  make  the  matter  a  subject  of  careful  study, 
however,  remembering  that  it  requires  a  trained  or 
gifted  eye  to  make  these  combinations,  and  that  many 
color  crimes  are  committed  in  the  name  of  harmony. 

The  first  six  of  the  designs  presented  form  a  se- 
quence as  numbered.  In  schools  in  which  this  work 
is  given  as  desk  work  without  the  supervision  of  the 
teacher,  mats  of  the  first  design,  over  one  and  under 
one,  should  be  given  until  pupils  learn  how  to  start 
each  strip. 

If  possible,  dictate  the  first  lesson  in  weaving,  strip 
by  strip. 

A  mat  with  an  even  number  of  strips  is  preferable 
at  first.  In  using  these,  by  starting  first  at  the  right 
and  then  at  the  left,  each  strip  is  started  like  the  one 
before.  This  necessitates  the  use  of  both  hands,  and 
is  a  joy  to  the  left-handed  child.     If  there  is  an  odd 


Weaving  103 

number  of  strips,  it  must  be  started  first  under  the 
first  strip,  the  second  time  over  the  first  strip,  the 
third  time  under  again,  and  repeated  in  this  way  all 
the  way  down,  beginning  on  the  same  side  each  time. 

The  remainder  of  the  designs  are  given  for  ad- 
vanced work,  or  for  those  pupils  who  accomplish  more 
than  the  rest  of  the  class.  For  large  mats  repeat 
the  pattern  as  often  as  the  size  of  the  mat  allows. 
Small  work  and  intricate  patterns  are  not  desirable ; 
the  ability  used  to  make  these  had  better  be  directed 
into  some  other  channel.  Weaving  is  a  means  to  an 
end,  and  not  the  end  itself. 

Much  weaving  may  become  a  weariness  to  the  flesh 
unless  a  new  cause  for  satisfaction,  either  by  its 
greater  beauty  or  its  application  to  forms  of  use,  is 
born  with  each  mat. 

Weaving  mats  may  be  put  to  various  uses,  some 
of  which  are  shown  in  another  part  of  this  book.  In 
addition  they  make  bedspreads,  table  covers,  and 
even  rugs  for  the  playhouse.  They  also  make  pretty 
and  appropriate  book  covers  for  books  of  school  work. 

Each  pupil  should  be  provided  with  a  manila  paper 
case  in  which  his  mats  and  needle  are  kept ;  thus  the 
distribution  of  materials  is  simplified. 

To  finish  mats,  trim  away  projecting  ends  and 
fasten  each  strip  in  place  by  pasting  along  the  mar- 
gin on  the  wrong  side. 


rm 


\ 

WEAVING   DESIGNS 

104 


WEAVING    DESIGNS 

105 


WEAVING   DESIGNS 

lOfi 


I 


WEAVING    DESIGNS 

107 


WEAVING    DESIGNS 

108 


WEAVING    DESIGNS 

109 


WEAVING    DESIGNS 

110 


WEAVING    DESIGNS 

HI 


FOLDING 

and 

CONSTRUCTION 


WORK 


(^g=^llblli^ 


It  is  not  the  knowledge  that  is  stored  up 
as  intellectual  fat  which  is  of  value,  but 
that  which  is  turned  into  intellectual  mus- 
cle.— Herbert  Spencer. 


FOLDING  AND 
CONSTRUCTION  WORK 

FOLDING 

This  occupation  is  invaluable  for  mental  discipline, 
for  accuracy,  and  for  the  training  of  the  hand  and  eye. 

The  mind  must  be  intent  upon  the  work,  in  order 
that  each  dictation  may  be  executed  with  alacrity 
and  accuracy.  The  interest  in  making  these  forms 
and  the  pride  in  the  finished  object  is  intense. 

Very  early  the  child  learns  that  one  careless  fold 
spoils  the  symmetry  and  beauty  of  the  form.  After 
the  first  two  or  three  lessons  the  corners  folded  upon 
corners  will  not  be  a  hair's  breadth  apart. 

In  giving  a  dictation  exercise,  show  the  class  by 
making  the  fold  whenever  necessary.  It  is  as  valuable 
and  as  practical  a  lesson  to  learn  to  observe  closely  as  it 
is  to  follow  dictation.  ^^^^  ^^^^ 

It  is  an  ironclad 
rule  that  the  square 
must  not  be  lifted  from 
the  desk,  nor  must  it 
be  turned  to  facilitate 
folding,  except  when 
so  dictated,  otherwise 
certain  confusion  will 
follow. 

In  the  following  ex- 
ercises  it   is   not   in- 


FRONT  EDGE 


116 


What    and    How 


tended  that  these  dictations  shall  be  given  verbatim 
to  the  class.  They  are  made  very  sim^Dle,  however, 
and  will  require  but  slight  adaptation. 

The  edge  next  the  front  of 
the  desk  is  the  front  edge  of  the 
paper;  the  opposite  edge,  cor- 
responding with  the  back  of  the 
desk,  is  the  back  edge. 

1.  Wall  Pocket— YoldiYont 
edge  to  back  edge.  Unfold. 
Fold  right  edge  to  left  edge. 
Unfold.  Turn  the  square  so  that 
one  corner  points  to  the  front. 
Fold  the  right  corner  to  the 
center. 

Fold  the  left  corner  to  the  center. 
Fold  the  front  corner  to  the  center.     Use  a  piece 
of  parquetry  paper  to  paste  the  three  corners  at  the 
center. 

2.  Envelope. — Fold  the  wall 
pocket.  Fold  the  fourth  cor- 
ner to  the  center.  To  save  a 
vast  amount  of  useless  repe- 
tition several  dictations  have 
been  combined  in  the  one  above, 
'Told  the  wall  pocket,"  but 
when  working  with  the  class 
each  dictation  should  be  given 
separately  each  time. 


Folding    and    Construction     Work 


111 


3.  Sailboat. — Fold  the  envelope,  turn  the  form 
over,  with  one  corner  pointing  to  the  front.  It  is 
now  a  small  square,  plain  side  up.  Fold  the  front 
corner  to  the  center.  Turn  the  form  over.  It  is  the 
sailboat. 


^.  Clock. — Fold  the  envelope.  Turn  the  form 
over,  placing  it  so  that  a  corner  points  to  the  front. 
Fold  the  front  corner  to  the  center.  Fold  the  right 
corner  to  the  center.  Fold  the  left  corner  to  the 
center.  Turn  the  form  over.  Here  we  have  two 
corners  that  meet  at  the  center  like  the  closed  doors 
of  a  tent.  Each  of  these  corners  must  be  lifted  and 
folded  back  to  open  the  doors.  A  small  clock  face 
cut  from  a  jeweler's  catalogue  and  pasted  on  this 
form  completes  the  clock. 

5.  Picture  Frame. — Fold  the 
envelope.  Turn  the  form  over, 
plain  side  up,  with  one  corner 
pointing  to  the  front.  Fold 
each  corner  to  the  center.  In 
dictating  do  not  give  a  general 
dictation,  but  fold  one  corner, 


118  What    and    How 

then  its  opposite,  the  third,  then  its  opposite,  thus 
developing  the  idea  of  symmetry.  Turn  the  form  over. 
Fold  the  front  right  corner  at  the  center  back  so  that 
it  lies  on  the  front  right-hand  corner  of  the  square. 
Give  this  direction  for  each  corner  at  the  center. 

6.  Cake  Basket. — Fold  the  picture  frame.     Turn 
the  form  over.  Here  v^e  have  four  corners  which  meet 


at  the  center.  Fold  the  corner  next  the  front  back  to 
the  middle  of  the  front  edge.  Repeat  this  fold  with 
each  of  the  remaining  corners  at  the  center. 

Turn  the  form  over.  Using  a  straight  strip  for  a 
handle,  insert  the  ends  of  the  handle  into  two  oppo- 
site corner  pockets  and  paste. 

7.  Saltcellar. — Place  the  square  on  the  desk  with 
one  corner  to  the  front.  Fold  the  front  corner  to  the 
back  corner.     Unfold. 

Fold  the  right  corner  to  the  left  corner.      Unfold. 

Fold  the  envelope. 

Turn  the  form  over,  plain  side  up,  with  one  corner 
pointing  to  the  front.     Fold  each  corner  to  the  center. 


Folding    and    Construction    Work 


119 


Turn  the  form  over.  There  are  now  four  corners 
meeting  at  the  center.  Slip  the  little  finger  deep  into 
one  iDOcket,  the  third  finger  into  the 
next,  the  first  finger  into  the  next, 
the  thumb  into  the  last.  In  doing 
this  it  will  be  found  that  the  cor- 
ners have  a  tendency  to  bend  down- 
ward. Fold  them  down  by  bring- 
ing the  fingers  together  until  the 
four  corners  come  together  at  one  point.  Upon  re- 
moving the  fingers,  the  corners  will  naturally  spread 
a  little  and  the  saltcellar  will  stand  on  four  points. 

8.  King's  Crown. — Fold  the  diagonals.     This  dic- 
tation is  given  in  folding  the  saltcellar.     Fold  the 

envelope.  Turn  the  form 
over.  Fold  each  corner  to 
the  center.  Turn  the  form 
over,  placing  it  on  the  desk, 
so  that  one  corner  points  to 
the  front.  Again  we  have 
the  four  pockets,  the  corners  of  which  meet  at  the 
center.  Slightly  raise  the  corner  of  the  right-hand 
pocket ;  also  of  the  left-hand  pocket.  Fold  the  front 
corner  to  the  back  corner,  at  the  same  time  keeping 
the  right  and  left  pockets 
open  so  they  will  not  be  in- 
cluded in  this  fold.  Press 
these  two  corners  down 
toward  the  back. 


120 


What    and    How 


9.  Queen's  Crown. — Fold  diagonals.    Fold  the  en- 
velope.   Turn  the  form  over.    Fold  each  corner  to  the 

center.  Turn  the  form 
over,  one  corner  at  the 
front.  Turn  the  corner 
of  the  right-hand 
square  which  touches 
the  center  back  so  that 

it  lies  on  the  outside  corner.     This  fold  is  the  same  as 

the  turning  back  of  the  corners  of  the  picture  frame. 

Repeat  with  the  corner  of   the  left-hand  pocket. 

Raise  these  little  half 

pockets   and    fold   the 

front  corner  to  the  back 

corner  as  in  making  the 

king's  crown. 

10.  Soldier's  Cap. — 
Fold   the    diagonals. 
Fold  the  back  edge  to  the  front  edge.    Do  not  unfold. 
Take  the  back  right-hand  corner  of  this  rectangle, 

bring  it  forward  be- 
tween the  two  corners 
at  the  front  to  the  mid- 
dle of  the  front  edge. 
In  the  same  way  bring 
the  back  left-hand  cor- 
ner forward  to  the  mid- 
dle of  the  front  edge.  There  are  now  two  corners,  one 
on  top  of  the  other  at  each  side.     Fold  the  upper  cor- 


Folding    and    Construction    Work 


121 


ner  at  the  right  to  the  vertex  of  the 
triangle.  Fold  the  upper  corner  at  the 
left  to  the  vertex  of  the  triangle. 

11.  Christmas  Tree. — Cut  a  green 
rectangle,  made  by  cutting  a  4  x  4  "^ 
square  in  halves,  into  a  fringe  with 
strips  about  one  eighth  of  an  inch 
wide.  Wind  these,  using  paste,  first 
one  then  the  other,  around  a  five-inch 
green  stick,  about  half  way  down.  A 
small  hemisphere  of  clay  for  a  base 
will  make  it  stand  alone. 

12.  Windmill. — Fold  diagonals  and 
unfold.  Fold  front  to  back.  Un- 
fold. Fold  right  to  left.  Unfold. 
Fold  the  middle  of  the  front  edge  to 
the  center.  Fold  the  middle  of  the 
back  edge  to  the  center. 


Fold  the  middle  of  the  right 
edge  to  the  center.  This  must 
leave  the  two  corners  stand- 
ing upright  like  two  ears. 

Fold  the  middle  of  the 

left  edge  to  the  center. 

All   of  the  corners  are 

now  standing ;  fold  them 

flat  so  that  one  points  to  the 

back,  one  to  the  right,  one  to 

the  front,  one  to  the  left. 


122  What    and    How 

CONSTRUCTIVE    WORK    WITH    COVER    PAPER 

This  series  of  folds  is  a  step  in  advance  of  the  kin- 
dergarten folds  of  the  previous  chapter.  It  is  there- 
fore suitable  for  first-year  work  after  the  class  has 
completed  the  other  .course,  or  may  be  given  to  sec- 
ond or  third  year  classes  without  taking  up  the  kin- 
dergarten folds. 

The  materials  for  this  course  are  construction 
paper,  cut  7x7,  scissors,  and  paste.  A  heavy  ma- 
nila  may  be  substituted  for  cover  paper,  though  the 
latter  is  more  attractive,  as  it  is  obtainable  in  colors. 

It  is  suggested  that  a  playhouse  made  of  boxes  be 
furnished  in  connection  with  this  course.  Large 
weaving  mats  or  raffia  mats  may  be  used  for  floor 
covering.  This  will  be  an  object  of  great  interest 
and  pride. 

The  fundamental  fold  in  this  series  is  the  sixteen 
square,  the  dictation  for  which  is  given  below,  after 
which  it  will  not  be  repeated  in  full.  In  work  with 
the  class  the  dictation  should  be  repeated  in  full  each 
time. 

In  connection  with  this  course  of  dictated  work, 
children  should  be  given  frequent  opportunities  to 
work  out  their  own  ideas  of  the  various  models.  If 
the  child  has  preconceived  notions,  or  if,  through  ob- 
servation, he  receives  a  modified  impression  of  some 
dictated  form,  by  all  means  let  him  express  it.  The 
purpose  of  this  course  will  be  lacking  if  it  does  not 


Folding    and    Construction    Work 


123 


develoiD  power  to  work  originally  and  independently^ 
With  this  end  in  view,  occasionally  give  the  class 
squares  of  paper  for  ''free  work."  In  some  instances 
it  will  be  well  to  name  the  object  they  will  make  the 
next  day,  with  the  injunction  to  observe  such  objects 
and  be  ready  for  work.  Variations  of  a  form  already 
made  may  be  suggested ;  if  it  is  the  cart,  a  seat  might 
be  added,  or  a  top,  or,  it 
might  have  four  wheels, 
while  some  inventive  spirits 
will  certainly  devise  axles. 
At  other  times  let  them 
make  whatever  they  wish, 
being  sure  that  they  have 
some  plan  in  mind  before 
they  begin  work;  aimless 
effort  must  not  be  allowed. 

Sixteen  Square.— ¥o\^  front  edge  to  back  edge. 
Unfold.    Fold  right  edge  to  left  edge.   Unfold.   Fold 

front  edge  to  middle  line. 
Fold  back  edge  to  middle 
line.  Unfold  both  folds. 
Fold  right  edge  to  middle 
line.  Fold  left  edge  to  mid- 
dle line.  Unfold  both  folds. 
This  gives  the  sixteen 
square. 

1.  Basket. — Fold  the  six- 
teen square.    Cut  along  the 


BACK 



FRONT 


124 


What    and    How 


heavy  line  ah,  cutting  off  one  strip  of  squares.  Place 
the  larger  piece  remaining  on  the  desk  with  the  nar- 
row edge  to  the  front.  We  have  now  two  creases 
going  from  front  to  back,  and  three  from  left  to  right. 


Cut  the  two  creases  at  the  front  to  the  first  transverse 
crease,  or  the  depth  of  one  square  as  indicated  by 
heavy  lines  in  the  diagram.     In  the  same  way  cut  the 


creases  at  the  back.  Stand  up  the  sides,  fold  the  three 
squares  at  each  end,  one  over  the  other,  and  paste, 
and  an  oblong  box  is  made.  Cut  a  handle  from  the 
strip  that  was  detached,  and  paste  on  the  inside  of 
the  middle  of  each  side. 


jf* 


Folding    and    Construction     Work 


125 


^2.  Wall  Pocket. — Fold  a  sixteen  square.  Cut  out 
the  two  corner  squares  at  the  back,  make  two  cuts  in 
the  right  edge,  and  two  in  the  left  as  shown  by  the 
heavy  lines  in  diagram  A.     Fold  the  three  squares 


at  each  side  to  form  an  oblong  box  like  the  basket. 
This  leaves  a  rectangle  standing  at  the  back;  trim 
off  the  corners ;  it  forms  the  back  of  the  wall  pocket. 
3.  Cart. — Fold  an  oblong  box  like  the  basket. 
Trace  around  inch  tablets,  and  cut  out  the  wheels. 


Either  jDaste  these  on  the  cart,  or  use  a  toothpick  for 
an  axle,  or  fasten  them  on  with  small  collar  buttons. 
Cut  a  tongue  from  the  detached  strip. 

Jf.  Sofa. — Fold   an   oblong   box   like   the   basket. 
Provide  each  child  with  an  extra  piece  four  squares 


126 


What    and    How 


long  by  two  squares  wide,  or  one  half  of  the  six-inch 
square.  Placing  this  on  the  desk  with  the  long  edge 
to  the  front,  fold  the  left  edge  on  to  the  right  edge. 


Keeping  it  folded,  cut  the  back,  right  squares,  as 
shown  by  the  curved  line,  diagram  B.  It  is  advisable 
to  have  this  line  drawn  before  cutting.     Using  the 


box  inverted  for  the  body  of  the  sofa,  paste  this  piece 
around  it,  so  that  it  forms  the  back  and  arms. 


Folding    and    Construction    Work 


127 


5.  Cupboard. — Fold  the  sixteen  square.     Cut  on 
heavy  lines  shown  in  diagram  C,  cutting  out  two  cor- 


ner squares  at  the  right.  Fold  to  form  an  oblong 
box  with  cover.  Give  each  child  an  extra  strip  three 
squares  long  by  one  square  wide.  These  should  be 
prepared  by  the  teacher ;  one  six- 
teen square  can  be  cut  into  five 
strips  of  three  squares  each. 
The  square  in  the  middle  is  a 
shelf.  The  end  squares  are  sup- 
ports. The  box  standing  on  end 
is  a  cupboard  with  a  door.  Ap- 
ply paste  to  the  supports  and  fit 
the  shelf  across  the  middle  of  the 
cupboard;  see  that  the  supports 
touch  the  bottom  and  the  shelf  is  bound  to  be 
straight. 


F 

r 


m 


128 


What    and    How 


6.  Chair.  —  Fold 
the  sixteen  square. 
Cut  off  a  strip  of 
four  squares  at  the 
right.  Cut  off  a  strip 
of  three  squares  at 
the  back.  This  leaves 
a  nine  square;  make 
two  cuts  at  the  front 
and  two  at  the  back, 
as  shown  in  diagram 
D. 

Stand  up  middle  square  at  the  back  for  the  back 
of  the  chair;  fold  down  the  sides  and  front,  fitting 
three  squares,  one  over  the  other,  at  the  front  and 
two  at  the  back.     If  the  class  is  proficient,  let  them 


D 

: 



cut  out  small  squares  from  the  sides  upon  which  the 
box  stands;  this  makes  the  legs.  Be  sure  the  paste 
is  dry  before  cutting. 


Folding    and    Construction    Work 


129 


7.  Tent, — Fold  the  sixteen  square.      Cut  heavy 
lines,  diagram  E.     Lines  may  be  ruled  for  the  diag- 


/ 

c 

d     |\. 

i 
i 

\ 

a 

^     '  / 

onals  of  corner  squares.     Fold  on  the  middle  verti- 
cal line ;  fold  square  a  so  that  it  lies  on  6,  and  c  on  d. 


After  the  paste  is  dry,  make  one  cut  in  the  end  for 
a  door. 


130 


What    and    How 


8.  Dog  House. — Fold  sixteen  square.     Cut  heavy 
lines,  diagram  F.     Fold  square  a  on  h,  and  c  on  d,  as 


- 

c 

d 

a 

b 

in  making  the  tent.    This  makes  the  roof  of  the  house. 
Fold  the  sides  down  straight,   folding  the  corner 


squares  one  over  the  other  to  form  the  ends  of  the 
house.     Cut  a  door  in  the  side. 


r 


Folding    and    Construction     Work 


131 


9.  Trough. — Fold 
sixteen  square  and  cut 
as  for  dog  house. 
Fold  and  paste  square 
a  on  h,  and  c  on  (i  in 
the  same  manner.  In- 
stead of  turning  the 
straight  sides  down,  they 
are  reversed  and  turned 

back,  leaving  the  roof  in- 
verted for  a  trough.     Cut 

off  the  projecting  corners. 
10.  Trunk. — Fold     six- 
teen square.  Cut  on  heavy 

lines,  diagram  G.    It  will 

be  necessary  to  draw  the  diagonals  of  the  two  corner 

squares  at  the  back  to  get  the  projecting  angles  on  the 

cover.      Make  a  box, 

leaving  the  side  with 

the  projecting  angles 

for  the  cover.      Paste 

a  narrow  strip  on  the 

under  side  of  the  cover 

in  the  middle  of   the 

front  edge  for  a  strap, 

mark,  and  then  cut  a 

short  horizontal  slit  in 

which   to    fasten    the 

strap. 


cover 


132 


What    and    Ho 


w 


H 

by    three 

the    back 

Fold  this 

edge    ah 

lies  on  the  edge  cd.  Cut 

as  in  diagram  I.     If  this  seems  very  difficult,  let  the 

children  mark  it  first,  and  cut  after  inspection.      The 


11.  Armchair. — 
Fold  the  sixteen  square. 
Cut  heavy  lines,  dia- 
gram H.  Fold  and 
paste  to  form  a  small 
square  box.  Have  pre- 
pared pieces  of  paper 
two  squares 
squares  for 
and  arms, 
that    the 


so 


a ^ ^ c 

b '^ ' ^d 


corners  of  the  back  may  be 
rounded.  Unfold  and  paste 
around  the  box,  letting  the  bottom 
of  the  box  be  the  seat  of  the  chair. 


Folding    and    Construction    Work 


133 


J 


12.  Table. — Fold  the  sixteen  square.  Cut  off  one 
strip  of  four  squares,  leaving  a  rectangle  four  squares 
by  three  squares.  Cut  off  from  one  end  of  this  rec- 
tangle a  strip  of  three 
squares,  leaving  a  square 
three  squares  by  three 
squares. 

Fold  the  front  edge  to  the 
next  parallel  crease.  Fold 
the  back  edge  to  the  next 
crease  parallel  to  it.  Un- 
fold both  folds.  Fold  the 
right  edge  to  the  next  crease 
parallel  to  it.     Fold  the  left 

edge  to  the  next  parallel  crease.     Unfold  both  folds. 
We  now  have  creases  one-half  square  from  the  edge 

all  around.  Make 
two  cuts  at  the 
front  and  two  cuts 
at  the  back,  each 
one-half  square  in 
length,  as  indicated 
in  diagram.  Fold 
and  paste,  making  a 
shallow  square  box, 
one-half  square  in 
depth,  which  serves 
as  the  table  top.  From  the  detached  strips  cut  four 
short  strips,  each  one  and  one-half  squares  long  and 


134 


fVh at    and    How 


one  square  wide.  As  it  is  important  that  these  be 
of  the  same  length,  place  them  together  and  make 
the  ends  even.  These  pieces,  which  now  measure 
one  by  one  and  one-half  squares,  are  to  be  used  as  the 

legs.  Placing  one  of 
these  short  strips  on 
the  desk  with  its  long 
edge  to  the  front,  fold 
as  follows:  Fold  the 
front  edge  to  the  back 
edge.  Unfold.  Fold 
the  front  edge  to  the 
middle  line;  fold  the 
back  edge  to  the  middle 
line.  Do  not  unfold, 
but  insert  paste  under  the  edges,  meeting  at  the  mid- 
dle line,  making  a  strong  table  leg.  Repeat  this  with 
the  remaining  rectangular  strips.  In  pasting  the  legs 
in  the  corners  be  sure 
that  each  leg  touches 
the  under  side  of  the 
top  of  the  table. 
This  insures  their 
being  of  equal  length. 
13.  Washstand. 
— This  requires  two 
of  the  six-inch 
squares.  Fold  two 
sixteen  squares.    Cut 


Folding    and    Construction     Work 


135 


one  on  heavy  lines  in  dia- 
gram K,  and  paste  to  form  a 
box  two  squares  by  two 
squares  on  the  bottom  and 
one  square  deep.  Cut  the 
other  on  heavy  lines  in  dia- 


M 


way  on  the  opposite 
side.  A  strip  of  four 
squares  is  doubled  and 
cut  for  the  board 
around  the  top,  dia- 
gram M. 

U.  EecZ. -Fold 
the  sixteen  square. 
Fold  the  front  edge  to 
the  first  crease  paral- 
lel to  the  front.  Fold 
the  back  edge  to  the 


gram  L.  The  two  small- 
er squares,  measuring 
two  squares  each  way, 
are  doubled  to  form  the 
doors;  paste  is  applied 
to  one  half  of  this  square 
and  it  is  fitted  to  the 
inside  of  one  side  of  the 
box ;  the  other  half  forms 
the  door.  The  other 
door  is  applied  the  same 


136 


What    and    How 


first  crease  parallel  to  the 
-  back.       Unfold  both  folds. 

Cut  on  heavy  lines  in  dia- 
y  gram  N.     It  will  be  noticed 

that  the  cuts  are  only  half 

a  square  in  length.  Fold 
the  middle  rectangular  piece  at  each  end  down,  and 
the  half  squares  at  the  corners  over  it, 
and  paste.  Have  ready  two  pieces, 
one  two  squares  by  two  squares  for 
the  head  board,  and  one 
squares  by  one  and 


one-half  squares  for 
the  foot;  paste  one 
on  each  end,  thus 
covering  the  space 
left  by  the  half  squares. 

A  pillow  can  be  made  by  wrapping  and  pasting  a 
white  paper  around  a  pencil,  then  slipping  it  off.     A 

small    weaving 

mat     may     be 

used  for  a  quilt. 

15.  Cradle.— Yo\di 

the  sixteen  square. 

Cut  off  one  strip  of 

four  squares.     Fold 

each    edge    to    the 

next  parallel  crease 

and  unfold.     These 


head -board 


Folding    and    Construction     Work 


137 


new  creases  make  the 
heavy  lines  which  are 
to  be  cut  in  diagram. 
Cut  the  longest  lines 
first.  Fold  and  paste 
the  box,  which  will  be 
two  squares  long,  one 
square    wide 


and    one- 
half   square 
and  rockers, 


therefore  this  model  is  placed 
near  the  end  of  the  series. 

17.  Go-cart. — This  requires 
two  of  the  sixteen  squares. 
Fold  a  sixteen  square.  Cut 
off  one  strip  of  four  squares. 
Draw  lines  shown  in  diagram 
0.  By  this  time  the  class 
ought  to  be  able  to  work  from 
a  blackboard  diagram.  After 
inspection,  allow  them  to  cut 
on  these  lines.     Fold  to  make 


deep.       The  head-piece 
which  should  be  doubled 
and  cut,  are  pasted  on  afterward. 

16.  Rocking-chair. — This  is  made 
exactly  like  the  first  chair.  No.  6,  with 
the  addition  of  the  rounds  and  rock- 
ers, which  are  cut  separately  and 
pasted.  It  requires  a  delicacy  of 
touch   to   paste   these   small   pieces; 

o 


138 


What    and    Ho 


w 


a  box,  which  forms  the  body  of  the  go-cart.  Cut  a 
"shaving"  off  the  foot-board  to  make  it  the  right 
height.  For  the  top,  fold  the  other  sixteen  square. 
Cut  off  one  strip.  First  mark  heavy  lines  in  dia- 
gram P;  after  inspection,  cut. 

These  squares  marked  1,  2,  and  3  are  folded  one 
p 


V 

2 

^1 

\ 

a 

X 

.  b 

c 

y 

d 

z 


over  the  other  for  the  top. 
The  square  marked  x  is  the 
seat.  The  squares  a  and  b 
are  pasted  to  the  sides  of  the 
go-cart,  while  c  and  d  turn 
up  under,  meeting  in  the 
middle,  and  support  the  seat ; 


y  is  the  apron  which  comes  down  in  front  over  the 
supports.     Use  the  detached  strips  for  handle  and 


Folding    and    Construction    Work 


139 


wheels.  The  handle  is  a  long,  straight  strip,  five 
squares  long;  the  wheels  are  traced  and  cut,  then 
23asted ;  the  supports  under  the  seat  do  not  allow  the 
use  of  toothpick  for  an  axle.  By  making  round  holes 
with  a  punch  in  the  buggy  and  corresponding  ones 
in  the  wheels  collar  buttons  may  be  used  to  fasten  on 
the  wheels.  In  this  connection  use  the  shortest  col- 
lar button  obtainable. 

The  next  four  forms  introduce  work  with  the  ruler. 


A  few  preliminary  exercises  to  familiarize  the  class 
with  the  use  of  the  ruler  should  be  given.  These  forms 
are  too  difficult  for  average  first-year  work. 

18.  Box. — The  same  sized  square  is  used.  Divide 
each  side  into  thirds  by  placing  marks  at  2  and  4  on 
the  ruler.  Draw  lines,  using  the  ruler,  connecting 
these  marks  as  in  diagram  Q.    Cut  out  the  small  tri- 


140 


JVh at    and    Ho 


w 


angular  jDieces  at  the  sides  indicated  by  heavy  lines. 
Fold  up  the  sides  on  lines;  turn  back  the  corners. 
Punch  holes  and  tie  with  ribbon  or  zephyr. 


19.- 


-Place  a  mark  one  and  one-half  inches  from 
each  corner  on  each  side  of 
the  square.  To  avoid  mis- 
takes, let  each  child  find  one 
and  one-half  inches  on  the 
ruler  and  mark  it  with  a  col- 
ored pencil.  Connect  marks 
as  in  diagram  S,  and  cut  the 
heavy  lines  at  the  corners. 
Stand  up  the  sides  and  paste, 


letting  two  flaps  go  inside 
and  two  outside  the  box  at 
each  end.  The  flaps  should 
be  flush  with  the  top  edge. 


s 

\: 

/ 

/ 

N^ 

Folding    and    Construction    Work 


141 


20. — On  each  side  of  the  square  place  marks  at  1, 
2,  4,  and  5  inches  from  the  corner.  Connect  the  marks 
one  inch  from  the  corners,  as  in  diagram  T,  and  cut 


T ^___ 

1       '  '       I 


u 

\/'- 

\. 

\ 

/\ 

out  the  corner  squares  as  indicated  by  the  heavy  lines. 
Now  draw  connecting  lines  shown  in  diagram  U,  and 
cut  the  heavy  lines.  Stand  up  the  sides,  making  each 
flap  go  inside. 


The  starting  'point  of  thought  is  by  sense 
impression, — the  direct  impression  that  is 
produced  by  the  world  in  our  internal  and 
external  senses. — Pestalozzi. 


THE  UTILITARIAN  SIDE 

While  the  utilitarian  side  is  ofttimes  a  necessary 
one,  it  should  by  no  means  follow  that  each  sewing 
card  or  weaving  mat  made  is  valueless  unless  put  to 
some  practical  use.  It  is  a  mistaken  idea,  and  one 
that  should  not  be  developed, — that  of  measuring  the 
value  of  effort  or  labor  only  by  the  practicality  or 
commercial  value  of  the  result.  The  true  apprecia- 
tion of  a  color  harmony,  or  a  rhythmic  motive,  is  a 
feeling  harder  of  cultivation,  but  one  which,  when  de- 
veloped, brings  its  own  reward. 

For  those  times  when  the  practical  application  may 
be  desired,  a  few  suggestions  are  here  offered. 

The  weaving  mat  or  sewing  card  may  be  converted 
into  a  calendar,  match-scratcher,  or  wall  pocket,  as 
illustrated. 

A  pretty  gift  blotter  may  be  made  by  pasting  a 
sewing  card  or  weaving  mat  to  blotting  paper  of  the 
same  size,  or  either  of  these  may  be  used  for  the  cover 
to  shaving  papers  or  blank  leaves  for  laundry  lists. 

Other  uses  will  be  found  under  ''Holiday  Work." 

A  FEW  SUGGESTIONS 

In  order  to  have  each  class  on  schedule  time,  it  is 
necessary  to  have  the  distribution  and  collection  of  ma- 


144  What    and    How 

terials  reduced  to  a  science  minimizing  the  time  re- 
quired and  avoiding  confusion  between  classes.  It  is 
of  course  necessary  to  have  all  the  materials  prepared 
and  ready  for  use.  Sewing  and  weaving  should  be 
kept  in  individual  cases,  in  which  the  needle  may  also 
be  kept.  Sticks  should  also  be  in  individual  boxes, 
so  that  counting  out  a  certain  number  each  time  will 
not  be  necessary. 

Paste  may  be  passed  quickly  by  placing  a  small 
amount  on  a  little  piece  of  paper  on  each  child's  desk. 
This  does  away  with  collecting  or  washing  paste 
dishes  and  small  amounts  left  over  may  be  passed 
freely  to  those  who  have  not  enough. 

In  large  classes  it  will  be  found  helpful  to  keep  the 
materials  belonging  to  each  row,  or  class,  separate; 
they  can  be  distributed  much  more  quickly  and  read- 
ily if  kept  in  this  way.  The  small,  wooden  butter 
trays  used  by  grocers  are  convenient  for  passing 
sticks,  tablets,  word-cards,  etc. 


A  mounting  book,  in  which  the  sewing,  cutting, 
weaving,  and  other  forms  of  hand  work  can  be  pre- 
served is  a  matter  of  great  pride.  It  makes  a  Christ- 
mas gift  which  is  ofttimes  preserved  for  years. 

Plain  ingrain  wall-paper  or  cover  paper  are  suit- 
able materials  for  mounting  books. 

Pretty  cover  designs  for  mounting  books  may  be 
made  with  parquetry  forms. 


Utilitarian    Side  145 

HOLIDAY  WORK 

Fo7'  Thanksgiving. — Sew  and  color  leaves,  turkeys, 
or  pumpkins.  Cut  "Mayflower,"  pilgrim,  bows,  and 
arrows. 

For  Washington's  and  Lincoln's  Birthdays. — Fold 
picture  frames  for  miniature  pictures  of  Washington 
and  Lincoln.  A  red  and  a  blue  frame,  one  for  Wash- 
ington and  one  for  Lincoln,  may  be  tied  with  white 
ribbon. 

For  Valentine's  Day. — Cut  or  sew  birds  and  hearts. 
A  heart  cut  from  gold  or  colored  paper  and  pasted  in 
the  folded  picture-frame  makes  a  pretty  valentine.  A 
sheet  of  small  embossed  flowers  is  indispensable  at 
this  time. 

For  Easter. — Sew  or  cut  butterflies.  Sew  or  cut 
a  chicken  peeping  from  a  shell. 

For  May-day. — Several  baskets  or  boxes  are  given 
in  the  chapter  on  ''Folding,"  which  may  be  used  as 
May-baskets.     Cut  and  color  flowers  and  leaves. 

For  Christmas. — Until  children  are  of  school  age, 
they,  as  a  general  rule,  think  of  Christmas  only  as  a 
time  when  they  receive  presents.  As  early  as  possible 
they  should  learn  that  the  true  Christmas  spirit  is  to 
make  others  happy — that  "it  is  better  to  give  than  to 
receive." 

It  is  well  worth  any  trouble  it  may  have  been  to 
see  the  shining  faces  as  they  take  home  their  myste- 
rious, well-wrapped  packages  to  hide — 0,  the  delight 
of  it ! — till  Christmas  morning.     It  may  be  only  a  col- 


146 


What    and    How 


ored  drawing,  but,  if  it  is  dignified  by  the  addition  of 
a  calendar  pad,  the  child  tastes  the  joy  of  giving  some- 
thing made  by  his  own  hands. 


A  flower  or  sprig  of  holly  may  be  sewed  and  colored 
in  each  outward  turning  corner  of  the  box  on 
page  140 ;  make  the  box  of  a  7  x  7  square,  tie  the  cor- 
ners with  ribbon,  and  we  have  a  dainty  trinket  box. 

Sachet. — Fold  a  7  x  7  weaving  mat  diagonally. 
Place  cotton  and  sachet  inside.  Paste  or  sew  with 
several  threads  of  zephyr,  making  a  little  tuft  or  bov/ 
at  each  corner  of  the  triangle. 

Bookmark. — Use  a  piece  of  cover  paper  or  bristol 
board  2x4.  Fold  on 
dotted  lines.  Sew  or 
paste  a  flower  or  but- 
terfly cut  from  col- 
ored paper,  and  tie 
with  ribbon. 

A  few  designs  are 
given  for  cards  about  6x8.  These  may  be  used 
variously ;  a  calendar  pad  may  be  pasted  on ;  a 
piece  of  sandpaper  will  make  it  a  match  scratcher ; 
the  addition  of  the  wall  pocket  on  page  125  will 
make  it  a  match-safe  as  well. 

A  small  writing  pad,  2x4,  pasted  on  a  sewing 
card  or  weaving  mat,  with  a  dainty  pencil  attached, 
will  be  convenient  for  mother  when  she  writes  a 


Utilitarian   Side 


147 


note.     Blocks  of  pads  are  obtaina- 
ble at  the  stationer's  or  printer's. 

Cylindrical  Box  for  B  u  r  n  t 
Matches  or  Combings. — Mount  an 
oblong  weaving  mat,  5  x  7,  on  heavy 
paper  or  bristol  board  of  the  same 
size  to  give  it  firmness.  Curve  or 
roll  it  to  form  a  cylinder,  the  depth 
of  v^hich  shall  be  the  short  dimen- 
sion of  the  mat.  Punch  holes  along 
the  two  edges  which  meet,  and  tie 
or  lace  with  raffia,  worsted,  or  rib- 
bon. Fit  to  it  a  circular  bottom, 
and  fasten  them  together  by  tying 
or  lacing  as  before.  Make  a  handle 
of  braided  raffia  or  ribbon  by  which 
to  suspend  it. 


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153 


HOLIDAY   WORK,    GUTTING   AND   PARQUETRY 

154 


DAILY  OUTLINES  FOR 
HANDWORK 

It  is  readily  granted  that  the  suggestions  for  work 
having  been  given,  the  program  itself  should  be  left 
free  and  elastic.  In  the  face  of  this  oft-quoted  state- 
ment the  following  outlines  are  submitted  for  those 
teachers  whose  numerous  duties  do  not  give  them 
time  to  plan  all  their  work  previously  to  their  own 
satisfaction. 


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^J»N     4  1936 


Form  L-9-10m-5 ,'28 


■ 


— aanOBiLsx^^ 


UCLA-Young  Research   Library 

LB1541    .H38w 


L  009   536  750  4 


/ERSITY  of  CALIFORi^^J 
AT 
LOS  ANGELES 
TJDBRARy 


y^B  AWGHLES.  CAUKm^A 


